Blog Posts
Gonzo: Journalism Without Objectivity
Careers / By Avery Nape
Career/ Avery C. Nape
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I first discovered the idea of Gonzo Journalism while reading the book ‘Fear and Loathing in Las Vegas’ by Hunter S. Thompson. Thompson is one of the founding fathers of Gonzo Journalism, famous for his twisted, satirical, yet factual works; mixing his own personal experiences, viewpoints, and even biases with his research, which creates an exciting blend of fact and fantasy. Although he was the first of his kind to be recognized, he was certainly not the last, as the work done by him helped pave the way for a brand new genre of writing.
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What is Gonzo Journalism
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Gonzo Journalism lacks objectivity and allows the writer’s personality to show through alongside their research; whereas traditional journalism aims to remain as unbiased and factual as possible. While Gonzo writers still aim to translate information accurately, they prioritize their own beliefs, experiences, and narratives in order to embellish their story; giving factual journalism an entertaining, comedic, and witty twist. Many also define this style of writing by the inclusion of the writer as the protagonist of his/her own story. The substance, personality, and subjective truths, are often more important in Gonzo writing than the information that is being reported. Without such factors, there would be virtually no difference from traditional styles of journalism.
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The History of Gonzo
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The term ‘Gonzo’ is a South Boston, Irish slang that means ‘last man standing’; certainly appropriate for such a subjective and sarcastic style of writing. This term was first used in journalism by Editor, Bill Cardoso regarding the satirical commentary of Hunter S. Thompson. This style of writing began in the 1960’s, but many of the more famous works didn’t come until the early 70’s. Thompson’s ‘The Kentucky Derby is Decadent and Depraved’, for example, was published in 1970. Other writers such as Lester Bangs and Tom Wolfe also aided in the dawn of New Journalism around the same time. All of these writers had different styles and beliefs, which has come to be the essence of Gonzo writing.
Hunter S. Thompson
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Thompson grew up in Louisville, Kentucky and joined the Air Force at an early age. He began his career as a journalist abroad, prior to moving to San Francisco, where he began riding with the Hell’s Angels for a project. This project ended up becoming book, which was a huge part of his rise to fame. Thompson had a strong interest in politics, which fueled much of his satirical work. Alongside his writing, he also ran for Sheriff in Pitkin County, Colorado, but his campaign ended in defeat. This was ultimately the end of his political career. He had an eccentric personality, a love for drugs, guns, alcohol, and was not necessarily fond of authority. This outlaw persona, in combination with his talent in writing, led him to be a legend in both journalism and pop culture, before and after his death.
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Gonzo Journalism Today
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Today, we see Gonzo influence in blog posts, television shows and the news. Vice News covers a wide variety of topics, employing numerous journalists. They each express their own views and personalities depending on the scenario, which is a staple of Gonzo Journalism. Anthony Bourdain’s ‘No Reservations’ is also a prime example of this genre in the 21st century. The insertion of the writer into the story itself seems to intrigue people by taking a more personal approach to journalism. These days, people have the capabilities to travel anywhere in the world via the internet. By including the reporter’s personality, humor, and sarcasm, the viewer is immersed into the story even more. With that, I believe that Gonzo Journalism has just begun, and will continue to grow popular in the future.
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References:
https://www.masterclass.com/articles/understanding-gonzo-journalism#what-is-gonzo-journalism
https://www.britannica.com/biography/Hunter-S-Thompson
http://www.writerswrite.co.za/a-writers-guide-to-gonzo-journalism
Akira: A Marvel of Animation
Film / By Avery Nape
Background
Akira, an icon of Japanese culture and a masterfully produced film. It embodies a bizarre mix of science fiction and horror, taking place in a post-apocalyptic Japan. Directed by Katsuhiro Ôtomo, Akira was originally released in Japan during the summer of 1988, gaining popularity almost instantly. With a budget of around $9 million, it is one of the most expensive anime productions ever, grossing roughly $49 million in box office sales alone. Akira also made significant technological and cultural leaps, becoming the first of its kind in more area than one. The film was very forward-thinking, and stands as a marvel of animation to this day.
Akira surrounds three strange children who are in custody of the government, and seem to possess some strange telekinetic powers. At first it is unclear where these powers came from or what the childrens’ intentions are. However, a brief shot of a crater suggests that they must have some connection to the atomic blast. The story follows Shatoro Kaneda, the leader of an outlaw bike gang, and his friends. Following a strange sequence of events, one of his friends, Tetsuo, crashes his motorcycle into one of these children. The child is unharmed, but Tetsuo is hospitalized, and begins having strange visions. It soon becomes clear that he has gained these same telekinetic powers, but is incapable of controlling them, which becomes a main point of conflict.
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Plot
The film takes place in Neo-Tokyo in the year 2019, thirty one years after World War III, and an atomic blast that leveled the city. In this post-apocalyptic world, crime runs rampant, anti-government sentiments are strong, and a mysterious energy known as Akira rises. The film’s main conflict is portrayed as good vs. evil through the constructive and destructive powers of atomic energy. Kaneda and his friends are portrayed as anti-heroes, opposed by the seemingly tyrannical government attempting to control this powerful force. As the plot thickens, however, the situation becomes much more complicated. We begin to see these two sides share some common goals.
The three children seem to represent good through self-control, the constructive qualities of energy, and the effectiveness of teamwork. They attempt to correct the mistakes caused by humans, and to make the world a better place. Tetsuo, however, a tormented and conflicted man, represents evil through his inability to control his own energy. He is seen causing mass destruction, acting on impulses and emotion, going after the people who were once his friends. These negative qualities, although first manifesting as power, ultimately consume him.
Here, he proclaims “I am Tetsuo”; signifying the death of his physical body and transcendence from human existence. This engulfs Neo-Tokyo, destroying everything, but also creating something new. Akira is portrayed as life and death, creation and destruction, and good and evil, all in one. This represents both the duality of atomic energy, the rebirth of Japan after WWII, and aims to explain the nature of good vs. evil. Such themes help make Akira one of the most influential films of all time, referred to as “the film that changed everything” by Cinefantastique in 2004.
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Production
Akira stands as a marvel of modern animation, and with such a large budget, was able to include effects that put it ahead of its time. Utilizing a massive palette of 327 colors, the film’s illustrations stand out on the screen like stars in the sky. 50 of these colors, in fact, were created solely for the film; giving it an extremely unique and ethereal atmosphere. It was one of the first animated films to utilize CGI, helping to show movement much more clearly. The film was the first of its kind to depict Tokyo in full detail, made possible by its budget and employment of talent through The Akira Committee.
This committee was comprised of several major Japanese entertainment companies. They worked tirelessly to create an animated film of epic proportions, and I would say those standards were far exceeded. Akira was way ahead of its time, especially when it hit the U.S. market, and stands as a marvel of animation to this day. At the time, such uncensored violence and language was relatively unheard of in animated films, adding to Akira’s revolutionary status.
Conclusion
Ultimately, through its focus on atomic energy, spirituality, and even anti-war sentiments, Akira is one of the most profound films of all time. The film relies on historical contexts and cultural values, making it more than just some cartoon. It provides valuable lessons on human nature and offers philosophical insights on life in general. For these reasons, and many more, Akira stands as a marvel of animation and film culture to this day.
If you read this far, and are interested in checking out the film, it is currently available for streaming on Hulu in both the original and dubbed versions. Thanks for reading!
Брат (Brother): A Foreign Film Review
Film, Television / By Avery Nape
Background
The film Брат, or Brother, is a Russian crime drama that follows the life of Danila Bagrov, an ex-conscript who finds himself involved with the St. Petersburg mob. Directed by Aleksei Balabanov, the film released in 1997 at the Cannes Film Festival. It was recognized in the section ‘Un Certain Regard’, which spotlights unorthodox storylines seeking international recognition. Although the film had a budget of only $10,000, it far exceeded expectations, and scored a whopping $1.4 million in box office sales. It became one of the most popular films in Russia during the 1990’s and is regarded as a cult classic there to this day.
Hero or Villain?
The film Brother is not your average crime film, and the protagonist, Danila, is not your average criminal. Throughout the film, we see his morals being tested, constantly pinned in a battle between right and wrong. Although these decisions are often difficult for him, to the audience, Danila is the perfect anti-hero. Despite engaging in violence and other extreme behavior, it remains obvious that he has good intentions, and is simply making the best choice given his circumstances.
Throughout the film, Danila takes on an almost Robinhood-esque persona, with the key word being almost. Although he is seen serving vigilante justice on criminals and feeding the homeless he also has a much darker side. These actions show signs of morality, and that he has somewhat of a good conscience. When contrasted with his engagement in activities like murder and womanizing, however, the audience is faced with the question: “is he a hero or a villain?”. This question is asked throughout the film, but I think it goes much deeper than good vs. evil.
Relationships
Right down to the name of the film, there is a strong focus on brotherhood. Although the relationship between Danila and his older brother Viktor is complicated, it is clear they have a strong bond. Danila is influenced by Viktor’s involvement in crime, in fact, he is the reason for Danila’s involvement in the first place. This may explain the internal conflict he constantly faces between doing right and wrong. Even though his heart is in the right place, and his moral compass is somewhat intact, Danila’s loyalty to his brother comes first.
Music is also an extremely prevalent theme in the film, and in many ways represents Danila’s good side. We see him frequent a music store, making friends with a girl that works there, who allows him to regularly borrow CD’s. These moments of purity and kindness are few and far between, but frequent enough that they emphasize Danila’s positive traits. He is also constantly seen carrying a Walkman, one that later gets hit by a bullet, possibly saving his life. This further reinforces music as a projection of Danila’s innocence, as it is one of the only things separating him from the cold-blooded killers he faces, both literally and figuratively.
Conclusion
It is not until near the end of the film where we see his brother finally rely on Danila. He is tasked with saving Viktor’s life, which (spoiler alert) he does, but this turning of the tide is important. This change signifies Danila’s freedom from his brother’s choices and his ability to make his own. Following this scene, we see Danila tie up loose ends and head for Moscow to start a new life. A brief shot of his gun, however, suggests that he is not entirely done with this life of violence; perhaps it is all he knows. This inference also left room for a potential sequel, which released in 2000.
Ultimately, Danila’s ability to navigate the criminal life with some morality proves to set him apart from his foes. Although he is not the perfect hero, Danila clearly embodies the traits of a classic anti-hero. His relationships in the film paint a picture of a young man looking for his place in a chaotic world. Brother is a masterfully produced crime film, especially given its budget, and clearly sets itself apart from similar films.
If you’ve read this far, I strongly urge you to check out the film. It is available to stream for free on YouTube, and has English subtitles available as well. I will attach the link here if you are interested in watching. Thanks for reading!
La Planete Sauvage: A Foreign Film Review
Film / By Avery Nape
Psychedelic animation, a jazz-laden soundtrack, and a thought-provoking plot. The film ‘La Planete Sauvage’or ‘Fantastic Planet’ is one of the most interesting films I have ever encountered. On the surface, it is a story of giant alien-like creatures, Draags, and small human-like creatures, Oms. The two species live together in constant conflict on a planet called Ygam. It all sounds very bizarre, and to be fair it is. But trust me, ‘La Planete Sauvage’ is much more than some weird, animated film. It is a story of oppression, war, and the possibility of world peace, all themes that relate to life during the film’s inception and today.
Background
‘La Planete Sauvage’ was adapted from the French science fiction novel ‘Oms en serie’, written in 1957 by Pierre Pairault. The word Om is actually a play on the French word for man, “homme”, and interestingly enough, these creatures take on the appearance of mankind. Directed by Rene Laloux, the film began production in Prague in 1968. Due to the Soviet invasion of Czechoslovakia, however, they were forced to pause for around a year. Production resumed in Paris until its release at the 1973 Cannes Film Festival. Here, the film won top prize for best feature film and went on to become an animated classic.
Storyline
Upon watching the film for the first time, I realized there was much more to appreciate than the animation alone. Although the storyline is somewhat dry, it tells an interesting and thoughtful tale. The story follows the life of the protagonist, an Om known as Terr. It begins when he is a child, separated from his mother and taken in by Draags as a pet. We see him grow, learn, and eventually, attempt to revolt. The story seeks to determine whether it is possible for the Oms and Draags to coexist, which is heavily reminiscent of the Soviet Invasion of Czechoslovakia, as well as current and recent conflicts. While others have speculated about the story’s relation to animal rights or totalitarianism, I had a slightly different reaction. These two explanations are plausible, but I think the film explains the importance of balance and finding a common ground. The two species offer to each other what they themselves lack, similar to the idea of Ying and Yang. For much of the story, they focus on each other’s differences, something that nearly drives them both to destruction. This idea of coexistence and peace is also heavily akin to the counterculture movement of the 60’s and 70’s. Additionally, the film somewhat revolves around spirituality, found in a bizarre meditation practiced by the Draags. This meditation has some rather psychedelic, transcendental implications, also reminiscent of the period. These creative decisions help make this film simple yet profound, seemingly telling two stories at once.
Animation
I came across this film while scrolling on social media, and was immediately taken aback by the animation style. Roland Topor, the film’s art director and screen-play writer, utilized a method known as paper cut-out animation for the illustrations. This method involves slicing and moving images under a camera frame-by-frame. It is far less labor intensive than producing thousands of illustrations, and was extremely popular among smaller studios in the late 1960’s. ‘La Planete Sauvage’ has a rather monochromatic, or tonal color scheme, with few contrasting colors. This adds to the overall moodiness of the film, and helps create somewhat of a dark and mysterious atmosphere. The color of the Draags is interesting in itself, as their pale blue hue and bright red eyes stand out amongst the film’s organic, tonal palette. This infers, in a way, that they are out of place or disconnected from their natural environment, and also suggests that they are incapable of coexistence. The Oms’ humanlike appearance made them extremely relatable, and I often found myself watching from their perspective. This sliver of relatability allows for the rest of the design elements to be completely abstract, giving viewers a single strand of reality to cling to. Like the storyline, naturally, the film’s animation has some psychedelic influence as well. From the plants and creatures found on Ygam, to the depiction of the sacred meditation, this influence is prevalent throughout. The colors used, the vintage style of animation, and the cultural influences found in its design, all make ‘La Planete Sauvage’ a true work of art.
Soundtrack
Last but certainly not least, is the film’s soundtrack. A strange, ethereal, and beautiful mix of jazz and bizarre sound effects. This music helps give the film an extremely unique vibe and adds so much to the storyline itself. Consisting of 25 different songs, the soundtrack was clearly designed with the screenplay in mind. It somehow manages to take the viewer on a journey of its own, both accentuating the content of the film, and adding content of its own through the mood it invokes. The music lines up impressively well with each scene, correlating notes with shifts in action or dialogue. The futuristic, ethereal sound effects incorporated behind the jazzy and often hypnotic music help create a relaxing but otherworldly atmosphere, and definitely takes on some psychedelic influence as well. While it is not technically a part of the soundtrack, the film is originally in French. Although there is a dubbed version available, I watched the original. Since I was forced to rely on subtitles, the film had a similar feel to watching a silent movie, which honestly added to the otherworldliness even more.
From its thought-provoking plot, to its psychedelic animation and jazz-laden soundtrack, this film has it all. It is currently available for streaming on YouTube and HBO MAX, and I would strongly recommend checking it out. Whether you are a fan of art, jazz music, foreign films, or the French language, this film is for you. Thanks for reading!